In week one, you will study the proportions of human figures. Glenn will teach you a practical and realistic system for approaching the basic proportions. You will learn how to draw the figure while identifying the differences between the male and female anatomy.
In week two, Glenn will teach you how to draw the largest mass of a human body; the torso. You will learn that the torso acts as the dynamic core, from which the head, neck, and limbs all originate.
In week three, Glenn will demonstrate how the skeleton of the legs combines with the powerful muscles to create beautiful rhythmical structures in drawings. You will learn all the major anatomy landmarks of the legs and take a quick look at how they connect to the feet.
In week four, you will learn how to draw the most mobile and complex part of the body, the arms, as they connect to the egg-like ribcage. Glenn will teach you an anatomical approach to constructing the arms while lecturing on their relationship with the shoulder girdle.
Hands and feet are notorious among artists for being some of the most challenging areas of the body to draw. In week five, you will learn how to think of these structures as simple boxes. Glenn will show you ways to consider the proportions and anatomy of the skeleton to depict convincing hands and feet.
Common Questions
This course is appropriate for intermediate and advanced levels.
This course includes downloadable assignment PDFs, that help you practice the materials taught by instructor Glenn Vilppu. Keeping up with these assignments will maximize your learning outcomes.
A material PDF list is linked in each lesson under the description. Please check the file to see what you need to prepare.
All New Masters Academy courses are designed to be done traditionally or digitally. Software changes constantly, but the fundamentals stay the same. It will be up to you to translate the information that you are learning to your software of choice.
We recommend that before attempting this course, you should take The Spirit of the Pose with Karl Gnass.
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